A Quote by Robert Fripp

If you are playing repertoire material, you're stuck. There's not huge amounts you can do. — © Robert Fripp
If you are playing repertoire material, you're stuck. There's not huge amounts you can do.
There's huge amounts of nonsense that goes with everything surrounding music and art. All the things you have to do promote yourself - there's huge amounts of nonsense.
There's no huge mystery. If you dig up huge amounts of carbon, huge amounts of ancient biology, hundreds of millions of year's worth of ancient biology, and flush it into the atmosphere in a matter of decades, then it stands to reason that we're going to have enormous effects, and now we can see those effects all around us.
[The Internet] is a series of tubes. And if you don't understand, those tubes can be filled and if they are filled, when you put your message in, it gets in line and it's going to be delayed by anyone that puts into that tube enormous amounts of material, enormous amounts of material.
I never had huge amounts of money when I was young. I had huge amounts of fame, and I always had the sense of labor and recompense. I always said I don't want to work for pay, but I want to get paid for my song.
I'm lucky because my repertoire is so specific, and theaters are interested in me singing my repertoire because it is not done so much. I'm pretty well settled in my repertoire. I like what I sing. My voice is high, and there is not much in baroque opera for higher tenor.
I have a huge repertoire. I love karaoke.
Roadrunner wanted to make Born in the Flood the next Nickelback, but I didn't want to be that. I didn't want to be a huge rock star playing songs I didn't like. I didn't want to be stuck playing 'Anthem,' the song everybody liked but I didn't want to put on the record, for the next five years.
Meat production is one of the leading causes of climate change because of the destruction of the rainforest for grazing lands, the massive amounts of methane produced by farm animals and the huge amounts of water, grain and other resources required to feed animals.
Even if you're playing the most well-known repertoire under the sun, I still believe you have a responsibility as an artist to tell the audience why you're playing it, what are the key aspects to it, and then throw in a bit about its historical context.
If I were to run around the world playing just the cello concertos - and believe me, I love playing them - I would be counting my entire repertoire from year to year on my two hands.
It's been a long time since we've been out there playing new material, and we have really enjoyed that. Of course we still enjoy playing the Yes standards as well, but it's great to have a bit of a challenge and pull off new material.
We've always actually been remarkably commercially successful. Not in terms of making huge amounts of money, which we rarely do, but in terms of not losing money and making modest amounts of money. We're actually strangely consistent in that respect.
I don't record for my own glory.I mean, of course part of it is for career advancement, but more importantly, I want some of that repertoire - as much of it as possible - to remain and enter pianists' consciousness and, hopefully, into the standard repertoire.
In 1920, the West ruled huge amounts of the world.
I always need huge amounts of time to do anything.
The nice thing about the violin repertoire is that it's small enough that you can plan on learning everything at some point - whereas the piano repertoire is so enormous it wouldn't be possible unless you're a learning machine.
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